Tom Working on 'Benches'
Photograph by Richard Morphet, 1971

1 October 2000

Welcome to the new space. We've spruced up a bit, made some changes (both visible and transparent), and forged a plan for growth.

What's visible? Easier-to-read captions, enhanced navigational links, and a new home page.

What's transparent? Cascading style sheets, improved directory structure, and a shift from static to dynamically-generated pages for derivative images.

What's ahead? We plan to add content on a monthly basis, making updates on the first of each month at 0:00 Greenwich Mean Time. We hope to provide access for visitors like Canadian painter Bill Hurrell, who have known Tom for decades, as well as visitors like Sigri Pull, my mother, who don't know Tom from Adam.

In addition to our broad changes, this month we've added portraits, including pictures of Tom, Anna Mossman, and a new-to-the-site picture of ping pong superstar Salman Rushdie.

Next month we're adding the complete images and text of the catalogue of the 1989 National Portrait Gallery retrospective exhibition, Tom Phillips: The Portrait Works. If you're clever you may stumble across these pages -- but don't get fussy with us if you bump into dead links and such. Think of it as final dress rehearsal, and the director is stopping scenes to make notes.

Also next month we commence with a year-long serialization of the first printed version of A Humument. Each month we'll post 30 images from the 1973 Tetrad Press edition, scanned from copy number 5 of 100, with the generous cooperation of America's Library of Congress.

As 2000 gives way to 2001, we'll have news of Tom's latest publications: The Postcard Century (Thames & Hudson), and an illustrated edition of Beckett's Waiting for Godot (The Folio Society). We'll have a chat with Tom and his old pupil Brian Eno, plus more sculpture, pictures, drawings, essays, and (drumroll please) keyword searchability!.

What do you think? Any questions? Wish lists? Hot picks for the next cricket season? Drop us a line.

Until then, bye!

JOHN NICK PULL, editor

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